Dying Light: The Beast launched in mid-September 2025 for PC, PS5, and Xbox Series X/S, and it immediately feels like a homecoming. Stepping back into the role of Kyle Crane is genuinely satisfying—almost like the series finally remembered who its heart belonged to. After the shift in focus in Dying Light 2, having Crane back gives the whole thing more weight and familiarity.
From the start, it’s clear this game isn’t trying to reinvent anything, and for once that’s actually a strength. The parkour still has that chunky, frantic momentum, the day/night cycle still flips your stress levels upside down, and the infected are as unhinged and persistent as ever. It’s another Dying Light game through and through, and it doesn’t pretend otherwise. The combat’s still wonderfully crunchy, the traversal still makes rooftops feel like salvation, and the missions fit neatly into the world rather than trying to do something experimental for the sake of it.
There are little updates—movement feels a touch slicker, the skill trees are slightly clearer—but the bones are exactly the same. Some might see that as a lack of ambition, but honestly? If you order a curry and they suddenly give you sushi, you’d be fuming. The Beast sticks to what it’s good at and delivers it with confidence.
One standout element this time around is the music. At certain points, especially during night runs or when the tension ramps up unexpectedly, the soundtrack flirts with full-on 28 Days Later energy. You get that bleak, moody, piano-heavy dread that makes everything feel more cinematic and desperate. It ends up feeling like the closest we’ll ever get to a proper 28 Days Later video game, and that tone suits the world perfectly.
And let’s talk about the cars. Yes, parkour is still king, but The Beast doesn’t shy away from a bit of vehicular catharsis. Ploughing through hordes of zombies in a battered car never stops being entertaining. There’s a daft joy in hearing bodies thump off the bonnet as you boost through a street you’d never risk on foot. It’s not subtle, but subtlety is for people who aren’t being chased by supercharged infected at dusk.
As for the tone and writing, it leans into nostalgia without turning into cringeworthy fan service. Crane’s return feels earned, not gimmicky, and there are a few nods to past events that actually land without feeling forced. The visuals have undergone a tidy polish, especially in lighting and textures, but it’s clearly still built on familiar tech. Night-time looks gorgeous in that “I hate this and want to run away” sort of way.
If you’re hunting for innovation or a dramatic shift in direction, this won’t scratch that itch. But if you wanted more Dying Light, proper Dying Light, with the character you actually care about, intense atmosphere, and the freedom to kick a zombie off a roof or run one over with a car depending on your mood, then The Beast absolutely delivers.
Rating: 8/10
It’s not a revolution, it’s a reunion—and that’s exactly why it works.
Gareth Ellis - Author 